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Holland Galleries. 
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T.E. Finger 

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J.M. Thomas 
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J.M. Themes 
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As SALE NUMBER 145'7 
| ON PUBLIC EXHIBITION FROM THURSDAY, JANUARY TWENTY-NINTH 


PewstkRATED CATALOGUE OF 


NWALUABLE PAINTINGS 


INCLUDING TWO WHISTLER OILS, 
THREE PRESENTATION SARGENT 
WATER COLORS, TWO MARBLE 
- STATUES BY RODIN, AND THIRTY- 
| THREE OIL SKETCHES BY RENOIR 


FROM THE COLLECTIONS OF 


THE LATE MRS. JOHN F. CARROLL— 
THE LATE MATILDA STIEFEL | 
ig ine pms 
Pyne Le, 0. ULMANN 
SR a TRA RE LOE 


AND OTHER OWNERS AND ESTATES 


TO BE SOLD 
THURSDAY AND FRIDAY EVENINGS, FEBRUARY FIFTH AND SIXTH 
ane LOPS I, — 
AT 8.15 O'CLOCK 


THE ANDERSON GALLERIES 
{MITCHELL KENNERLEY, Presipenr] 
PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 


1920 
> naenearengenceypecems 


[VAS Ade SG 


CONDITIONS OF SALE 


All bids to be PER Lot as numbered in the Catalogue. 


The highest bidder to be the buyer. In all cases of disputed bids the 
lot shall be resold, but the Auctioneer will use his judgment as to the 
good faith of all claims and his decision shall be final. 


Buyers to give their names and addresses and to make such cash 
payments on account as may be required, in default of which the lots 
purchased to be immediately resold. 


Purchases to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and the remainder 
of the purchase money to be paid on or before delivery, in default of 
which The Anderson Galleries, Incorporated, will not be responsible if 
the lot or lots be lost, stolen, damaged, or destroyed, but they will be 
left at the sole risk of the purchaser, and subject to storage charges. 


To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of purchases, no lot will be delivered during the sale. 


All lots will be exposed for public exhibition in The Anderson Gal- 
leries before the date of sale, for examination by intending purchasers, 
and The Anderson Galleries, Incorporated, will not be responsible for the 
correctness of the description, authenticity, genuineness, or for any defect 
or fault in or concerning any lot, and makes no warranty whatever, but 
will sell each lot exactly as it is, WITHOUT RECOURSE. But upon receiving 
before the date of sale expert opinion in writing that any lot is not as 
represented, The Anderson Galleries, Incorporated, will use every effort 
to furnish proof to the contrary, and in default of such proof the lot will 
be sold subject to the declaration of the aforesaid expert, he being liable 
to the owner or owners thereof for damage or injury occasioned by such 
declaration. 


TERMS CAsH. Upon failure to comply with the above conditions 
any sum deposited as part payment shall be forfeited, and all such lots 
as remain uncleared after twenty-four hours from the conclusion of the 
sale will be resold by either private or public sale at such time as The 
Anderson Galleries, Incorporated, shall determine, without further notice, 
and if any deficiency arises from such resale it shall be made good by the 
defaulter at this sale together with all the expenses incurred thereby. 
This condition shall be without prejudice to the right of The Anderson 


1 


Galleries, Incorporated, to enforce the contract with the buyer, without 
such resale. 


Bips. We make no charge for executing orders for our customers 


and use all bids competitively, buying at the lowest price permitted by 
other bids. 


The Anderson Galleries, Incorporated, will afford every facility for 
the employment of carriers and packers by the purchasers, but will not 
be responsible for any damage arising from the acts of such carriers and 
packers. 


Priced Copy of this Catalogue may be secured for one dollar for each 
session of the sale. 


THE ANDERSON GALLERIES 


INCORPORATED 
PARK AVENUE AND -FIFTY-NINTH STREET 
| NEW YORK 
TELEPHONE PLAZA 9356 CATALOGUES ON REQUEST 


SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN 


7 n= ee 


SALE THURSDAY EVENING 


February Fifth, 1920 
BEGINNING AT 8:15 O’CLOCK 
[Lors 1-89] 


Poe eZ VVERMANN 


MUNICH SCHOOL 


Meme FIRS! SHAVE 


Bursting into the barn, the two young sisters surprise their brother 
just preparing to shave his upper lip, having arranged a convenient 
corner at the window. Poodle dog, vegetables and utensils at the 
right. (Matilda Stiefel collection.) 

Canvas. Signed at lower left. Height, 20 inches; width, 27 inches. 


R, L. ZIMMERMANN 


MUNICH SCHOOL 


. THE RETURN HOME 


Seated at table with clenched fists and head turned away, the 
father refuses to yield to the pleadings of his wife, while the daugh- 
ter, standing nearby in an attitude of humility, appears asking per- 
mission to return to the parental roof with her child, which is seated 
on the table. A couple of children look on, cat and kittens about. 
(Matilda Stiefel collection. ) 

Canvas, Signed at lower left. Height, 19 inches; width, 26 inches. 


CARL HERPFER 


MUNICH SCHOOL 


mero wD REPOSE 


A young Miss has fallen asleep while pouring over the family 
Bible, oblivious to the presence of a ram which has entered the open 
door and finds a leaf of ancient scripture to its taste, while a ewe is 
waiting to have its turn. At the right the kitten plays with the 
knitting which was cast aside. Quaint interior with characteristic 
furnishings. (Matilda Stiefel collection.) 

Panel. Signed at lower left. Height, 22 inches; width, 18 inches. 


Pe Bi UME SIEBERT 


MUNICH SCHOOL 


fet SNOW SWEEP 


Charming portrayal of a little girl amusing herself with mother’s 
big broom sweeping the snow from the doorstep. She has paused 
to blow on her chubby hands and looks at the spectator while the 
broom rests against her arm. (Matilda Stiefel collection.) 
Canvas. Signed at lower right. Height, 18% inches; width, 13%2 
inches, 


3 


BP Ne le 


MUNICH SCHOOL 


. MONKS PLAYING CARDS 


An amusing scene in the wine cellar of a monastery, where three 
monks are at cards and a fourth is seen at the left assuaging his 
thirst from a bottle. The superior brother is at a loss for choice of 
play ; meanwhile a lay brother in the foreground passes the ace of 
hearts to his accomplice. (Matilda Stiefel collection.) 

Canvas. Signed at lower left. Height, 21 inches; width, 17% mches. 


AUGUST MULLER 


MUNICH SCHOOL 


Roel eo iS ica 


Grandmother stops at her knitting, leans over to correct the 
spelling of the smiling, blonde, little girl who is seated at a rough 
deal table doing her lessons. (Matilda Stiefel collection.) 

Canvas. Signed at lower left. Height, 10% wmches; width, 9 inches. 


A. STANIGES 


MUNICH SCHOOL 


. MONK -WITH CANDEE 


His countenance beaming, the lay brother is obviously passing 
to the wine cellar, as the pewter tankard and his anticipatory expres- 
sion show. He shields the candle light with his hand. (Matilda 
Stiefel collection. ) 

Panel. Signed at upper right. Height, 12 inches; width 9 inches. 


A. WEBER 


MUNICH SCHOOL 


. JOVIAL COMPANIONS 


The one seated looks smilingly at the dregs in his stein, wearing 
a delightful expression, while the other, standing and holding a long 
pipe, looks somewhat reprovingly at his friend. (Matilda Stiefel 
collection. ) ) 
Panel. Signed at lower left. Height, 17% inches; width, 12% inches. 


G. LAEV ERG 


MUNICH SCHOOL 


/-THE SCHOOUTEESSe 


In a quaint old world room, grandfather sits at the table finish- 
ing his wine to the accompaniment of his pipe, while the little girl 
has put one end of the tablecloth aside and is engaged at a slate, 
leaving her bun before her untouched. The kitten laps its milk in 
the foreground. (Matilda Stiefel collection. ) 

Panel. Signed at lower left. Height, 18% inches; width, 13% 


inches. 


R. L. ZIMMERMANN 


MUNICH SCHOOL 


. JOVIAL COMPANIONS 


A convivial gathering around the table, discussing the merits of 
Rhine wine; one of the elder men is holding forth about the two dif- 
ferent vintages, to the amusement of the soldier at his right. A maid 
brings in fresh glasses and apparently two bottles seen at the right 
are also to be sampled. Characteristic types well rendered. (Ma- 
tilda Stiefel collection.) 

Panel. Signed at upper left. Hetght, 11 inches; width, 16 inches. 


JAMES HENRY MOSER 
AMERICAN SCHOOL 


1854—1913 


. ADMIRATION 


Seated at a dining table, an elderly negro in shirt sleeves holds 
up a pewter sugar bowl with both hands, regarding it lovingly, 
while a little pickaninny, her right elbow on the table, her hair in 
curls, looks on with an expression of regret. Half a loaf and a 
scanty supply of syrup in the jug seems to indicate a lack of victuals. 
Flowers in pots at the window to the left. 

Canvas. Signed and dated, 1888, at lower left. Height, 8 mches; 
width, ro inches. 


ALFRED SIEBERT 


MUNICH SCHOOL 


» EVENING HARVEST SCENE 


Six buxom girls carrying their rakes and sickles, four of them 
chatting merrily. Two at the left, one carrying an empty jug and 
luncheon basket, seem more serious. They head the procession of 
harvesters who precede the heavily laden hay cart drawn by oxen 
and decorated with a huge wreath. A motley crowd, old and young, 
bring up the sides of the road, some singing and chanting. Ripe 
field at the distant left, orchard on the right, after sunset sky. 
(Matilda Stiefel Collection. ) : 

Canvas. Signed at lower right. Height, 40 inches; width, 62 inches. 
This picture was awarded first prize at the Munich Exhibition, 1883, 
where it was bought by the present owner. 


MLL CARLSEWN, INVA. 


CONTEMPORARY AMERICAN 


fee ILL: LIFE 


On a plain table several pigeons, one white, a black one and two 
of gray plumage, are grouped about a large metal vessel, flanked by 
a copper coffee pot and several onions on the right. Characteristic 
tonal study and nicely adjusted values. 

Canvas. Signed and dated at the lower right. Height, 22 inches; 
width, 32 inches. 


5 


14. 


WILLIAM* Ee CHASE 


AMERICAN SCHOOL 
1849—1916 


GREY, “DAY AT THE (BEACH 


A wide expanse of sandy shore, a number of ae pleasure boats — 


and craft at an inlet on the left and the silhouette of hotels and 
pavilions indicated in nice perspective in the distance, while the sea 


WA — rolls in on the right. Bleak, gray sky. A convincing production. 


f feta 


ibe 


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16 
Ayo fe 
3s 

17s 


b salt Signed at the lower left. Height, 10 inches; width, ro inches. 


JAMES D. SMILLIE, N.A. 


AMERICAN SCHOOL 


1833—1909 
EDGE OF THE WOOD 


Glimpses of the countryside near Montrose, Pa. A thicket in 
autumnal coloring on an elevation at the right, and on the left the 
meadowy foreground, enlivened by a few sheep, is broken by small 
mounds and stone hedges, hilly distance and gray, fleeting sky. 
Canvas. Signed at lower left. Height, 12 inches; width, 22 inches. 


ELIZABETH RR. COu as 


CONTEMPORARY AMERICAN 


SPOR ERAL ass DUNG 


Strongly painted head and bust of an old lady, the face, silvery 
hair and cream neckwear in fine relief from the dark drapery and 
background. 

Canvas. Signed and dated at lower left. Height, 20 inches; width, 
16 wches. 


JOHN J. ENNEKING 


AMERICAN SCHOOL 
1841—1919 


TWILIGHT WITH CATTEE 


Appealing tonal production of a frosty November evening, the sky 
warmed by a few touches of orange, the last glimmer of the setting 
sun, while the cows quench their thirst at a pool in the foreground. 
Enneking was known as the Boston Inness. 

Canvas. Signed at lower left. Height, 10 inches; width 16 inches. 


JERVIS McENTEE, N.A. 


AMERICAN SCHOOL 


1828—1891 
LANDSCAPE 
Autumn view of rolling country dotted here and there with cot- 
tages among green and brown fields, clumps of trees and stone 
hedges, low range mountains in the distance. 
Canvas. Dated on the right, stamped on back, “Sale McEntee, 1892.” 
Height, 12 inches; width, 20 inches. 


6 


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CHARLES WARREN’ EATON 


CONTEMPORARY AMERICAN 


fee NOVEMBER DAY 


Marshy expanse of brown and green grasses, with clumps of 


trees on the left, a haystack whose pyramidal shape adds a graceful 


line in the middle ground, a light cream and silvery sky, all rendered 

in just values. 

Canvas. Signed and dated at the lower left. 
idth, 18 inches. 


Peewee. OL EPLEY 
CONTEMPORARY AMERICAN 
EVERY THURSDAY 
Seated at a table, the kitchen-maid is polishing some silver spread 
out before her; a samovar and creamer are also to receive attention. 
Canvas. Signed at lower right. Height, 13 inches; width, 17 inches. 


feet eR LOOMIS, A:N.A. 


CONTEMPORARY AMERICAN 


STUDY OF HYDRANGEAS 

A group of beautiful pink hydrangeas on the left in nice value 
against the side of a thatched cottage, the door and window of which 
are partly covered with vines. Cabbage plant and various flowers 
bloom on right and left of the path in the center. 
Canvas. Signed and dated at lower left. Height, 17 inches; width, 
22 iches. 


Height, 12 inches; 


JERVIS McENTEE, N.A. 
AMERICAN SCHOOL 
1828—1891 

WOODY INTERIOR 

A stream of water in a forest with rocky foreground, straying 
timber and a glimpse of sky at the upper right. 
Canvas. Dated on the right and stamped on the back, “Sale McEn- 
tee, 1892.” Height, to inches; width, 16 inches. 


A. HUMBORG 


MODERN MUNICH SCHOOL 


Poe RARE VINTAGE 


A jovial monk, wearing an expression of gleeful anticipation, is 
decanting a glass of white wine from a pewter tankard; garbed in 
white habit, wearing a blue apron and skull cap, he stands beside a 
huge cask. 

Panel. Signed at upper right. 


Peo: MILLER, NA. 


CONTEMPORARY AMERICAN 


Height, rr inches; width, 8 inches. 


Pata DSCAPE 


A threatening sky overhangs a lowland stretch, a pool in the 
foreground, cows on the right and a cottage looming up in the middle 
plane. Charming bit, recalling Dupré. 

Canvas. Signed at lower left. Height, to inches; width, 16 inches. 


7 


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IN’ THE -MANNER: OF PELDC= Zin 
DUTCH SCHOOL 
SUNSET IN VENICE 
One of those colorful Venetian scenes which are the delight a 
all artists. The sky and water are of that azure blue known only 
to Italy, while the golden glow of the sunset illuminates the horizon 
line. In the distance are visible the Campanile and Santa Maria 
della Salute, and in the bay rides a ship under full sail, : 
Panel. Height, 11% imches; width, 20 inches. 


UNKNOWN 

MODERN FRENCH 
SWEEPING THE GARDEN PATH 

A French peasant girl is sweeping a narrow stone nae which 

borders a garden with trees and flower bushes. The simplicity of 
the composition and the dignity in the interpretation of the figure of 
the girl is reminiscent of Millet’s treatment of similar subjects. 
Canvas. Height, 18 inches; width, 11 inches. 


GERAERD. :PIETERSZ Wey oe 


[CALLED GERARDS VANES ei 
1606—1667 

ORPHEUS 

Seen at half length, a nude youth with nee hair, holding a 
violin beneath his arm, bends his head attentively over a sheet of 
music held in his hand. An intimate friend of Van Dyck, Zyl worked 
as his assistant in London and became a successful imitator of his 
style. In Holland he was called “The Little Van Dyck.” 
Panel. Signed with initials. Height, 2514 inches; width, 21V% 
inches. 
This picture was bought by the present owner at the sale of the col- 
lection of Colonel Henry Thomas Chapman, 1913. The above de- 
scription was taken from the Chapman catalogue. 


SIR: ANTON Y# WAN = Di 
1599—1641 

MARGUERITE, DUCHESS .OF- CLEVELDAA 

The young woman is seen at bust length, her body in profile, her 
head turned toward the spectator; her hair falls in curls about her 
shoulders and she wears a single strand of large pearls about her 
neck, with double pendants in her ears. Her silk gown falls low on 
her neck and is ornamented with a jeweled chain which is held at 
the shoulder by a cluster cross. The lady was a favorite of the 
or of Charles Il. The carved wood frame shows floral Mar- 
/guerites in the four corners. 
Panel. Height, 15 inches; width, 12 inches. ; 
This picture was bought by the present owner at the sale of the col- 
lection of Colonel Henry Thomas Chapman, 1913. The above de- 
scription and attribution are taken from the Chapman catalogue, in 
which tt was also stated that it was purchased in 1888 from the col- 
lection of S. Moreau-Chaslon, and was previously in the collection of 
his father, a well-known collector of France. 

[SEE ILLUSTRATION | 


8 


EIGHT | 


[NUMBER TWENTY- 


ABRAHAM VAN STRIJ 
DUTCH SCHOOL 
1753—1826 


29: ANIMALS BY THE RIVER@EAN 


A placid river flowing through the low country, with cows, sheep 
and a goat resting on the near bank in the shade of majestic trees 
and two cows standing in the shallow water near the shore. Across 
the river one sees trees and the outlines of spires and house tops. 
Although after the great period of Dutch painting, one still finds 
the essentials of the great tradition of Dutch landscape and animal 

,~painting carried on in such pictures as this. 
W Canvas. Height, 38 inches; width, 48 inches. 


is 10 


i ‘ 


ie 


30. 


- coloring of the Rubens tradition. 
ie 


wie 


32. 


COPY AFTER RUBENS 


BeeeerGiLiA AT THE ORGAN 
St. Cecilia is seated before the organ, while the strains of her 


music brings as listeners the angels from heaven, who hover in the 


air and stand about her. A painting on a large scale, with the rich 
The. dréss“of- Sti. Cécilia. is in 
warm tones of green and yellow and the background shows rich 
draperies and Corinthian columns. 


Canvas. Height, 69 inches; width, 56 inches. 


CONSTANT TROYON 
FRENCH SCHOOL 
1810—1865 


PANDSCAPE WITH CATTLE 


A white cow in the foreground and several sheep and cows about 
on the rich, grassy meadow. A maid in blue waist and white cap 
is at the right. Grove of trees to the left, and at the horizon, gray 
and creamy sky. (E. S. Ullman collection.) 

Canvas. Signed at lower left. Height, 15 inches; width, 18 imches. 


Pe CALDWELL 


CONTEMPORARY AMERICAN 


EVENING GLOW 


Flat foreground with grove of trees on the left, a lake in the 
middle ground with wooded banks, and warm, after-sundown sky. 
(E. S. Ullman collection. ) 
Canvas. Signed at lower left. Height, 12 inches; width, 20 inches. 


fc THOM 


CONTEMPORARY AMERICAN 


Stat HERING THE COW 


The cow is just being fastened for the day and looks somewhat 
disconcerted as the farmer secures the lead, while a little boy and 
girl look on. Meadow with high grasses, scrubby trees and early 
morning sky. (FE. S. Ullman collection.) 

Water color. Signed at lower right. Height, 13 inches; width, 25 
mches. 


Pee bee Ds LMNs AINA; 


CONTEMPORARY AMERICAN 


SANTA EUFEMIA, VENICE 
A long vista of white monastic buildings in the middle ground, 


* limpid water of the lagoon on which gondolas and other craft ply 


back and forth in the foreground. Warm, late afternoon sky. (E. 
S. Ullman collection. ) 


Canvas. Signed at lower right Height, 15 inches; width, 30 inches. 


i ‘J 


SAMUEL COLMAN; NA. 


CONTEMPORARY AMERICAN 


35, ARABS AT -THE TOMBIOFP SIDI CONS 

The tomb rises in fine Moorish design in the foreground, with 
open archways on the side. A little spring emerges from under the 
foundation on the right, at which a negro is about to seek a supply 
of water. A camel afoot and one squatting on all fours and many 
groups of Arabs, hooded and gowned, are seen about. Other tombs 
at the left and in the right distance flanked by tree groups; evening 

EC dO- sky. (E. S. Ullman collection.) 

Canvas. Signed and inscribed, “Sidi. Bon Hac, 1877.’ Height, 15 
inches; width, 24 inches. 


D. WERTHEIM 
| CONTEMPORARY AMERICAN 
36. LA PREMIERE DANSEUSE 

Holding a bunch of roses, the pretty, dark-eyed blonde has prob- 
ably just acknowledged the plaudits of an admiring audience. In 
white, fan-shaped, ballet costume, with a girdlet of red fastened by 
a jeweled pin, a brooch at the corsage, and an ornament in the hair. 

(E. S. Ullman collection.) 
eo _ Pastel. Signed at lower right. Height, 40 inches; width, 24 mches. = ' 


R. DE MADRAZ® 
CONTEMPORARY SPANISH SCHOOL 
372 Ad LAE BA ib MAO 

A vivacious Parisian, in a silk dress and a fur-trimmed pink 

evening wrap, stands with head coquettishly on one side as she holds 

the mask which she has just removed. The charm and technical 

es finish of such paintings as this have done so much to create the 

790 | artist’s popularity in America, (Mrs. John F. Carroll collection. ) 
Ar Panel. Signed at upper left. Height, 32 inches; width, 144% inches. 
2 ye 


ANGELO 2s 


CONTEMPORARY FRENCH SCHOOL 


oo.) IDEAS EAD 
A. fine example of the charming feminine heads in profile which 
have brought Asti into such wide popularity. The present example 
shows a dark-haired girl with faintly tinted olive skin and finely 
modeled features. (Mrs. John F. Carroll collection.) 
/? O Y €anvas, Signed to the left. Height, 17% inches; width, 13 yehee 
ff att 
LPM py. yl? M. ROUZEE 
4 Vp. | CONTEMPORARY FRENCH SCHOOL 
39. THE. FISHERMAN’S (Sie Eee 
On a sea wall in Normandy a fisher girl is seated mending a 
‘eo > net, while by her side sits her lover, a sturdy fisherman. Background 
' of gray sky and sea. (Mrs. John F. Carroll collection.) 
Canvas. Signed at the left. Height, 17% inches; width, 23% inches. 


1Z 


40. 


AL, 


42. 


FREDERICK A. BRIDGMAN, N.A: 


CONTEMPORARY AMERICAN 


MOONLIGHT AT DINARD 

A number of pleasure craft bobbing up and down on the tidal 
water and silhouetted from the silvery reflection of the moonlight 
on the bay, the slender trees rising in lacelike quality on the right 
and left of the picture, with the resort and its evening lights showing 
on the opposite bank. (E. S. Ullman collection.) 
Canvas. Signed and inscribed at lower right, “Dinard, 1889.” Height, 
15 inches; width, 18 inches, 


JULES DUPRE 
FRENCH SCHOOL 
1811—1899 


BREASTING THE STORM 


A stormy, gray sea, with a ship in the middle distance tossed upon 
the billows. The cloudy sky merges with the gray of the sea. A 
characteristic Dupré marine. (Mrs. John F. Carroll collection.) 
Panel. Signed at the left. Height, 8% inches; width, 1234 inches. 


PERCY MORAN 


CONTEMPORARY AMERICAN SCHOOL 


Pees on “LRA 


Three young ladies in the quaint full costumes of the eighties, 
two of them with picturesque poke bonnets, are gathered about a 
tea-table set on the lawn. (Mrs. John F. Carroll collection.) 
Canvas. Signed at the right. Height, 18% inches; width, 24 inches. 


Cake KAHLER 


CONTEMPORARY AUSTRIAN SCHOOL 


my ANGORA CATS 


Excellent study of two beautiful Angora cats, against a rich 
background of draped blue and purple velvet. (Mrs. J. F. Carroll 
collection.) — 

Canvas. Signed to the right. Height, 27 inches; width, 22 inches. 


A OANOMA 


- MODERN ITALIAN SCHOOL 


fein ON THE SLY 


A Franciscan monk, with a round, worldly-wise face, lifts to 
his lips a glass of wine poured from a bottle which he holds dis- 
creetly by his side, while a more devout brother at the left is bent 
piously over his breviary. A typical Casanova study, revealing the 
artist’s humorous enjoyment of the sly pleasures of the devout. 
(Mrs. John F. Carroll collection.) 

Canvas, Height, 12 inches; width, 7V% inches. 


13 


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- Ge BROWN Ne 


CONTEM PORARY: AMERICAN 


BUY A DOG | 


A little boot-black holds a tan and white dog in his arms, hoping 
that he may find a purchaser in some passerby. At his side lies his 
blacking outfit. A sympathetic interpretation of the artist’s favorite 
subject. (Mrs. John F. Carroll collection.) , 
Canvas. Signed at the left. Height, 24 inches; width, 16 inches. 


14 


PIERRE JEAN CLAYS 
BELGIAN SCHOOL 
1819— 


46. A CALM SUMMER MORNING NEAR ROTTERDAM 


A group of sailing ships are at anchor in a sea broken only by 
the movement of two rowboats over the water. A few seagulls 
hover over the surface of the waves. Here, as in all of Clays’ 

, marines, one finds a marvelously exact painting of the sea,and a 
Jo — close study of its movement and limpidity. (Mrs. John F. Carroll 

; collection. ) 
anel. Signed at the right. Height, 1634 inches; width, 24 inches. 


yl ie 


LOUIS EUGENE LAMBERT 
FRENCH SCHOOL 
1827—1890 


470 TELE CORTE NS ee 7 

A sedate mother cat calmly watches her three Kittens playing 

ae two balls of red worsted which have fallen from the work-box 

nearby. Other pictures of cats by this well-known French artist 
ss — have been exhibited at the Salon. (Mrs. John F. Carroll collection.) 
Canvas. Signed at the right. Height, 18 inches; width, 22% mches. 


LEON: Y¥  BSCostine. 
MODERN SPANISH SCHOOL 
48. REVERIE 


A young lady in a rich 17th Century costume sits by a table. an 
open box of love letters before her. One hand rests upon her fore- 
head while she dreams over one of the letters. The manner in which 
the luster of the white silk is treated is reminiscent of the interest 

= Terburg took in the painting of such rich fabrics. (Mrs. John F. 
vA ty Carroll collection.) | | 
Panel. Height, ro inches; width, 8 inches. 
Bought at the Frederick S. Gibbs sale. 


- A VacP AS ae 
MODERN ITALIAN SCHOOL 
49° N TRANCE TO VT HE Pie 
A traveler who has just arrived with his servant and two horses 
stands before the open door of a Moorish palace, which is opened 
the to him by an old man. The facade of the palace door, with its 
A 4 is — touches of turquoise blue, is particularly rich. A fine piece of color 
% ainting, showing Pasini in his favorite interpretation of the Orient. 
(Mrs. John F. Carroll collection. ) 
aT) Canvas. Signed at the left. Height, a inches; width, 14 inches. 
. cee at the Frederick. S. Gibbs sale. 9 ip 


Yau our eo 
go it.> “Sob heat 0G “THILLKER 
MODERN MUNICH SCHOOL 
SUs CHE SRE WE hei 
Extensive Alpine scene, with a valley in the foreground showing a 
4 a7 number of cows and shepherds at the border of a lake. 
Canvas. Signed at lower right. Height, 28 inches; width, 39 inches. 


LUDWIG? VOLT 
MODERN MUNICH SCHOOL 
51. LANDSCAPE WITH CATTLE IN THUR 
mi A number of cows are standing listlessly at the edge of a lake, 
[7 the shores of which are well timbered; a peasant girl is at the left. 
Canvas. Signed at lower. right. Height, to inches; width, 19 inches. 


ES MACTIES 
52. BARNYARD STUDY 
: A rooster, with brightly colored feathers, and three hens among 
~ . Je the straw of the barnyard. (Mrs. John F. Carroll collection.) 
AAS Panel. Signed to the left. Height, 6 inches; width, 844 inches. 


7 
16 


c 


53. 


GEORGE INNESS 
AMERICAN SCHOOL 
1825—1894 


fe NT ERIOR OF A WOOD, KEENE VALLEY 


The silent depths of a large wood, scarcely penetrated by sun- 
light. Against the prevailing green background the few tree trunks 
in the foreground stand forth with peculiar majesty. The figures of 
a few wood-cutters blend almost imperceptibly with the forest. In- 
ness, with his deep feeling for nature in all her moods, has com- 
municated here the somber mystery of forests and the feeling of 
vast spaces. A beautiful and powerful picture. (Mrs. John F. 

arroll collection. ) 

nvas. Signed at the right. Height, 18 inches; width, 24 inches. 
Bought at the Frederick S. Gibbs sale. 


LZ 


54, 


26. 


J 3S 


: [wf 
A” Iss, 


bf 


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7 


E. BOUDIN 
FRENCH SCHOOL 
1824—1898 


THE HARBOR OF se NAW ER 

A gently undulating shore line, bordered by trees and red-roofed 
white houses, with the Cathedral of Antwerp seen in the distance. 
The gray waters of the bay are enlivened by sailing and fishing 


vessels. Here we find Boudin at his best in the painting of marines — 


with a background of one of his favorite picturesque towns. (Mrs. 
John F. Carroll collection.) 


, Canvas. Signed and dated ’71 at the left. Height, 15% inches; 


width, 25% inches. 
JOHN C. WIGGINS 


AMERICAN SCHOOL 


PA begUUE SOLE ING asel 


Three cows in the foreground. One, white and brown spotted, 
looks at the spectator, while a brown and a black one are seen nearby. 
Wooded background, clearing on the left, with cottage. 

Canvas. Signed at lower left. Height, 26 inches; width, 38 inches. 


ARTHUR PARTON 


CONTEMPORARY AMERICAN 


SUMMER LANDSCAPE 

A placid landscape, with a small stream reflecting the trees which 
grow on its grassy banks. The sky is filled with lazy white clouds. 
(Mrs. John F. Carroll collection.) . 
Canvas. Signed at the right. Height, 17% imches; width, 27% 
inches. 


H. D. KRUSEMAN VAN ELTEN, NAY 
AMERICAN SCHOOL 
1829—1904 


BERRY: PICKING IN ULSTER COURS 

Broad fields on the right, with berry pickers at work. Massive 
tree groups on the left, surrounding a little lake. Cloudy sky. 
Canvas. Signed at lower right. Height, 26 inches; width, 40 inches. 


for pot CAESARE DETTI 
MODERN ITALIAN SCHOOL 


A WOMAN. WITH: A BASKET. OF FLOWERS 


A voluptuous French type, with reddish-gold hair and fair skin, 
dressed in rich silks and carrying on one arm a basket of all kinds 
of vividly colored flowers. A necklace of pearls accentuates the 
beauty of the neck and bosom. (Mrs. John F. Carroll collection.) 
Panel. Signed at the left. Height, 15% inches; width, 11 inches. 


18 


eh 


VAN 


| 


59, 


61. 


VAN 


62. 


Sr Lol COC EOOL 


EARLY 17TH CENTURY 


THE NATIVITY 


In the background Mary, in a high poster bed, is attended by 
servants, while in the foreground the infant Jesus, upon the lap of 
a nurse, is surrounded by numerous women attendants, eager to 
assist in His care. One woman pours water into a metal basin, 
while the nurse feels the temperature of the water. Another woman 
bears linen for swaddling clothes. All details of the picture, such 
as the costumes and metal basins, are executed with extreme 
realism. 

Canvas. Height, 66 inches; width, 47 inches. 


fee etON GEROME FERRIS 


CONTEMPORARY AMERICAN 


THe TRI-COLOR--TOKEN 


In the setting of a charming French garden, with hollyhocks 
growing by the window, a lady in the costume of the Revolutionary 
period, gives the tri-color emblem to her lover, who, with drum 
strapped on his back, is departing for the war. An alert dog sits 
by his mistress’ side. The costumes are executed with Ferris’s usual 
historical accuracy. (Mrs. John F. Carroll collection.) 

a aye Signed at the left. Height, 18 inches; width, 24 inches. 


ug eertbU TED TO<-JAN VAN GOYEN 


DUTCH SCHOOL 


1596— 1666 
SHAS CAPE 


A sailing vessel, running before the wind toward the left. <A 
rowboat in the left foreground, with a jetty farther away. Other 
vessels in the distance, and buildings seen against the skyline. Cloudy 


sky. 
Panel. Height, 20 inches; width, 29 inches. 
From the Van Noppen collection. 


ANTONIO TAMBURINI 


MODERN ITALIAN SCHOOL 


Seo SOUR TAIRE OF; THE THIRTY YEARS WAR 


A full-length study of a soldier in the picturesque costume of the 
period, with gray jacket, turned-up hat with a cerise feather, and 
wide pink boot tops. Both hands rest upon the gun, upon which he 
leans slightly, and the face turned in profile shows the sternness and 
and sadness rather than the adventure of war. To the right stands 
a small table with a stoneware stein. (Mrs. John F. Carroll col- 
lection.) _ 

Canvas. Signed at the right. Height, 14 inches; width, 9 inches. 


19 


63. 
30 Pe 


64. 


ee 


65. 
fr- 
66. 


Jat 


foduit™ 


67. 


Abe 
if? 


A. INNOCENTI 


MODERN ITALIAN SCHOOL 


A MANDOLIN LESSON 

A picturesque old music teacher, in a white wig and blue kne: 
breeches, is impressing the principles of music upon his pupil, » 
pretty young lady with a draped overskirt of pink over flower 
sprigged yellow. (Mrs. John F. Carroll collection.) sae 
Porcelain. Height, 9% mches; width, 7 inches. 


R. LINDERUM 


CONTEMPORARY GERMAN SCHOOL 


A. DUET INS AoE SiON AS GE | 
An old Benedictine monk in the white gown of his ander and = Nes 
melancholy young Franciscan in a brown robe are whiling away the — 
time with music, the former playing a mandolin, the latter a flute. 
(Mrs. John F. Carroll collection. ) me ] 
Panel. Signed at the left. Height, 13% inches; yeh a IO inches. " 


J. B. BRISTOL. Nae 
AMERICAN SCHOOL 
1826—1909 


LONG POND, BERKSHIRE ae 

The tree-clad hills of the Berkshires encircling a placid pond oe f 
with a single sail boat. In the foreground is a grassy slope with © 
boats drawn up on the shore. A charming study of the artist’s fa- — a 
vorite locality. (Mrs. John F. Carroll collection.) eee 
Canvas. Signed at the right. Height, 171% inches; width, 29 ‘inches. vs 
Bought at the Frederick S. Gibbs sale. ) % 


LEONARD OCHTMAN, 2a 


CONTEMPORA® AMERICAN 


OCTOBER | | a 
A peaceful fall landscape 0:  1tle rolling country with the mel- 
low tints of early autumn. A gray cottage, sheltered by trees, nestles = 


into a hollow, while in the distance are white cottages, lightly touched 
by sunlight. A good example of the treatment of light and hazy — ee 
distances in which this well- known artist excells.. (Mrs. John. FP) (um 
Carroll collection. ) 

Canvas. Signed at the left. Height, 11% imches; width, 15% inches. 
Bought at the Frederick S. Gibbs sale. 


WILLIAM Mo (Gries 
AMERICAN SCHOOL 
18491916 

peel A ied Bed Bt ee oe A PLB DNS 

Peppers, onions and squash lying close to a large earthenware 
pot and a small metal saucepan. Simplicity of arrangement and 
strongly contrasting high lights mark this fine example of Chase’s 
still-life subjects. (Mrs. John F. Carroll collection.) 
Canvas. Signed at the right. Height, 20 inches; width, » 2872 inches. 
Bought at the Frederick S. Gibbs sale. 


20 


LEONVGALELE 
FRENCH SCHOOL 
1872— 


. GUITAR PLAYER 


Lost in the strains of her own music, a French peasant woman, 
with a red shawl thrown over the back of her chair, sits playing 
the guitar. An old oak cupboard and a blue-covered table with a 
vase of flowers form an interesting background. (Mrs. John F. 
Carroll collection.) 

Panel. Signed and dated 1872 at the left. Height, 6% inches; 
width, 44% imches. 
Bought at the Frederick S. Gibbs sale. 


Pee OOLPHE PIOT 


_ MODERN FRENCH SCHOOL 


Pooks Wilh ROSES 


A beautiful child, with short, dark hair, ie to her breast a 
handful of pink roses. The pose of the head, thrown back and 
turned slightly to one side, is particularly lovely. Note the rich 
effect of the velvety turquoise blue background. (Mrs. John F. 
Carroll collection. ) 
aa Signed to the right. Height, 25% inches; width, 19 
inches. — 

Bought at the Frederick S. Gibbs sale. 


EDWARD PORTIELJE 


MODERN FLEMISH SCHOOL 


#ee PLEASING REFLECZION 


A lady in a flowing ihe skirt and blue bodice holds up a gilt 
mirror to catch her own | tming reflection. The background of 
a room with rich tapestries, rugs and curtains in dark tones sets off 
to advantage the central figure. A note of the artist’s, dated “Ant- 
werp, August, 1884,” is on the back of the picture. (Mrs. John F. 
Carroll collection. ) 

Panel. Signed at the left. Height, 8 inches; width, 7% inches. 
Bought at the Frederick S. Gibbs sale. 


FRANCOIS FLAMENG 


MODERN FRENCH SCHOOL 


mera ANT AND GUARDSMAN 


A peasant of eastern France, with a flock of sheep by his side, 
stands talking to a mounted guardsman in the brilliant red and gold 
uniform of the First Empire period. In the background are snow- 
capped mountain peaks. A skillfully executed picture in Flameng’s 
best manner. (Mrs. John F. Carroll collection.) 

Panel.. Signed at the right. Height, 11 inches; width, § inches. 


21 


SIR. WILLIAM BERGE os 


ENGLISH SCHOOL, 17531839 


72.,.PORTRAIT OF EDMOND MALONE, SHAKESPa 
SCHOLAR 

Half figure, head directed to the left, eyes looking at the spec- 

tator; tan coat, white neckerchief, powdered hair; landscape back- 


“pied ground. Edmond Malone (1741—1812) was the foremost authority 

age [, ee Shakespeare of his day. His activities led to the detection of the 
/ (i w#”Chatterton forgeries and the Shakespearean frauds of Ireland. 
[, 0%» ~~ Canvas. Height, 30 inches; width, 25 inches. Old hand-carved gilt 
ay. P o- frame. Authenticated by Messrs. Vicars Brothers of London. 

(| os 


RICHARD PARKES BONINGTON 
ENGLISH SCHOOL ~ 
1801—1828 


Seek E-SHELL: GATHERERS ‘AT. DIEPPE 


Scene at low tide; a fisherwoman with basket on shoulder and 
girl in foreground, other fisherfolk in. the distance; gray and blue 
sky; all very colorful and in charming perspective and values; one 
of the very scarce and most Turneresque of this much-sought- after 
_ master’s works. 
anvas. Signed and dated 1823 at the lefit.. Height, 14 inches; 
ength, 20 inches. 

ited at Worcester Museum, 19r4. 


-ANDREW GODS, A.R.A, 
SCOTCH SCHOOL 

_ 1789—1844 

f SIR DAVID Wiehe RA. 
: The distinguished painter is shown with arms folded, esting 
: slightly forward, looking at the spectator; brown hair, brushed for- 
ward, tan coat, ‘yellow-brown waistcoat, ruffled shirt front. 
Canvas. Height, 30 inches; width, 25 inches. Carved gilt frame. 
Bought from Thomas Connell and Son, London. Bryan's Diction- 
. ory. mentions Geddes having painted Wilkie’ s portrait. 


ANGELICA KAUFFMAN, R.A. 
| BRITISH SCHOOL 
1740—1807 


7 HON.. MRS. STANHOPE 

Seated at three-quarters to the left, her face supported by her 
right hand, in white fluffy gown, low at the neck, light auburn hair, 
brushed back from the. forehead, held by a narrow blue band; land- 
scape background. | | 
Canvas. Height, 30 inches; width, 25 inches. Carved gilt frame: 
From the collection of Lady Lucas. ; 


LUDWIG GEBHARDT 


MUNICH SCHOOL 


. MOONLIGHT IN THE BAVARIAN ALPS 


A stream traverses a mountainous country, forming a waterfall 
in the foreground; on the right bank a mountaineer’s hut, sheltered 
by a lofty crag; faint indication of snow-clad peaks in the distance ; 
cloudy sky, from which the moon just emerges at full. 

— Canvas. Signed at lower left. Height, 46 inches; width, 33 inches. 


CHARLES P. GRUPPE 


CONTEMPORARY AMERICAN 


. HOMEWARD WAY 


Late afternoon setting on a gray day, showing a road skirted by 
trees on the left, a group of cottages at the right distance, and a 
man in blue blouse mounted on a white horse. 

Canvas panel. Signed at lower left. Height, $34 inches; width, 13% 
inches. 


23 


78. 


Le 


79. 
iG 2 


80. 


Pe SLE BeRT 7 
MODERN MUNICH SCHOOL 

SPRING MORNING | 

A marshy foreground with an elevation and trees in the middle- 
ground against a pale blue sky, all deftly touched in, in agreeable 
tones of Spring verdure. : 
Academy board. Signed at lower left. Height, 8 inches; width, 13 
inches. 


CHARLES P:-GRUB EE 


‘CONTEMPORARY AMERICAN 


DUTCH INTERIOR 

The young mother is seated in the middle of the kitchen, deeply 
engrossed peeling potatoes, while a girl of about eight summers 
amuses herself with the dangling peels. Brass saucepan on a chair 
at the right, hearth at the left, on the mantel of which are seen the 
usual Delft plates. Well painted with a full brush. 
Canvas. Signed at lower left. Height, 27 inches; width, 22 inches, 


EMIL AY“ GROPES 


CONTEMPORARY AMERICAN 


THE. OLDE HOMESTEAD 

Broadly painted presentment of an old white coltae with a bit 
of garden in the foreground. A woman sits on the broad steps 
leading to the open door, preparing vegetables, while a number of 
chickens enliven the foreground. | 
Canvas, Signed at lower left. Height, 24 inches; width, 30 inches. 


ALEXANDER H. WYANia eo 
AMERICAN SCHOOL 
1836—1892 


. MOUNTAIN SCENE 


A valley enclosed by wooded slopes on the right and left, with 
high mountain peaks in the distance; gray, cloudy sky. 
Canvas. Signed at lower right. Height, 10 inches; width, 15 inches. 


ALBERT BIERSTADT kes 
AMERICAN SCHOOL 
1830—1902 


NGL TE so lLER RAS 


Gray tonal study with ranges of trees in nice perspective lead- 
ing to a high snow-capped peak looming high up in the pale blue sky. 
Canvas. Signed at lower right. Height, 12% mches; width, 16 
inches. 


VENETIAN SCHOUor 


.. CHRIST IN THE “HOUSE, GF fstie 


Christ at the end of a long table, surrounded by guests, beckons 
to the men pouring and tasting wine at the left. Musicians on the 
right. Ornate architectural background. 

Canvas. Height, 41 inches; width, 62 inches. 


24 


ETIENNE PROSPER BERNE -BELLECOUR 
FRENCH 
1838—1910 


= — 


84. THE SIGN BOARD 
} A young Lieutenant in spotless uniform stands intently reading 
i a notice posted on a tree. 
e Cradled panel. Signed at lower right and dated 1908. Height, 13% 


By o imches; width, 10% inches, 
PAUL-LOUIS GROLLERON 


FRENCH SCHOOL 
1848—1901 
, Tae FPOST 


A captain stands, with feet planted firmly apart, warming him- 
self at a few burning fagots in the fee ound while two soldiers 
at the left are nursing a freshly lit fire and preparing to cook a meal. 

2 3B4- Panel. Signed at lower right. Height, 14 inches; width, ro inches. 


ey l TLENRY, -N.A, 
AMERICAN SCHOOL 
1841—1919 
SOs. tLALIAN GYPSIES 
A quaint two-wheeled cart, heavily laden, drawn by a mule, is 
moving along the Campagna near Rome. A woman in vari-colored 
Yr: costume and a dog are perched high up on the vehicle’s contents, 
5 = _ while a man sits-on the shaft, lazily blowing his bagpipe. 

Academy board. Signed with initials at lower right. Height, 4% 

inches; width, 8% inches. 


FREDERIC J. WAUGH, N.A. 


tc - CONTEMPORARY AMERICAN 
SB COAST OF MAINE 


| A heavy surf rolls in, pounding upon the rocks, on the right 

| breaking in high masses of spray. Blue sea on the left, opalescent 

| / of- sky in a low key giving strong relief to the high values. 

Academy board. Signed at lower right and inscribed on back, “Coast 
f Mame, Jan., 19182’ Height, 12 inches; width, 16 inches. 


or , Jan., ght, 
hetiblatt F, AVILO 


CONTEMPORARY ITALIAN 


88. THE MINSTREL 
An old man, three-quarter length to the front, with long, flowing 
white hair and beard, in shabby genteel attire, is playing on a guitar. 
Canvas. Signed at lower left. Height, 39 inches; width, 29 inches. 


Pert LON eS CHOOL 
SeeouNoe! GLOW ON THE LAGOON 


Quiet stretch of water with marshy banks in the foreground, 
A (/- a where an abandoned boat is seen, beside which a solitary crane 
stands. Heavy clouds tinged with erimson. 
Panel. Height, 11% inches; width, 15% inches. 


25 


90, 


BO “ 


ol 


iA 


ohm 


fj 


(| 92. 
(PUA 
93. 


| Sal 


SALE FRIDAY EVENING 


February Sixth, 1920 
[Lots 90-159] 


[OR Minas 


[ ATTRIBUTED TO] 


THE MAID AND =THEVSWINE 


On a hillock beside the trunk of a tree, whose branches spread 
out over the upper part, a maiden is seated, seemingly surprised at 
the approach of a couple of swine, feeding as they advance; her 
upper garment 1s falling loosely over her arm; a blue skirt and pink 
drapery complete her attire, while a wide straw hat and a crook 
are at her feet. Swine in the distance, hills, a lake and blue sky with 
light cloud effect. 

Canvas, Height, 18 inches; width, 15% inches. 


EDWARD MORAN 
AMERICAN SCHOOL 


1829—1901 

CRABBING 

On the shore of a lake, amid rushes and canebrake, a couple of 
lads are in a. skiff, the older one at. the stern and the Other just 
dipping his net. The distant bank shows a wooded slope on_ the 
left and an indication of water craft and buildings on the right. 
Summer sky. 
pie Signed at lower left. Height, 21 inches; length, 36 inches. 


CHARLES H..MIDUERA ke = 
CONTEMPORARY AMERICAN 
LANDSCAPE 


A threatening sky overhangs a lowland stretch; a pool in the 
foreground, cows on the right and a cottage looming up in the mid- 
dle plane. ‘Charming bit, recalling Dupré. 

Canvas. Signed at lower left. Height, 10 inches; width, 16 inches. 


MM. GREENE 


CONTEMPORARY AMERICAN 


AUTUMN ALONG. THE Arr 

A large body of water with several sails at the horizon is bor- 
dered on the right by a wooded shore, a number of big rocks: break- 
ing the line in the middle ground. 


Canvas. Signed at lower right. Height, 16 inchs width, 24 inches. 


26. 


OUTS REEBAD 


CONTEMPORARY AMERICAN 


eee its QUAI VOLTAIRE IN PARIS 


A characteristic corner of Old Paris on the embankments of the 
Seine, opposite the Institute de France, the sacred institution for 
art and science in France. On the embankment are the boxes of 
second-hand book dealers, whose clientele is composed of original 
Paris types: the old professor with flowing hair, the baker’s boy, the 
priest. The coachman to the right seems more interested in politics 
than in books. In the background the statues of Pont des Arts and 
a typical specimen of Paris street architecture. 

Canvas. Signed to the left. Height, 29 inches; width, 41 inches. 


Saraki hs DURAND 


FRENCH SCHOOL 


eee PAT COR S- SHOP 
The intimacy of an old-fashioned workshop before the era of 
strikes and unions. A white-haired tailor sits cross-legged on the 
Bf — table cutting a jacket, while a girl in a red dress bends over a piece 


of sewing. The open window with its outlook over the industrious 
i 4 be with its rows of smokestacks, already predicts the coming of 
a new era. An excellent painting, revealing a broad interpretation 


of light and color. | 
Canvas. Signed at the right. Height, 56 inches; width, 40 inches. 


JOHN LEECH 
ENGLISH SCHOOL 
1817—18&64 


one VERY GREAT MAN 


The quaint custom of hitching a horse to bathing vans and draw- 
Boe ing them close to the water is aptly illustrated. A youth about to 
undress stands at the door of his cabin and calls to the attendant, 
“Now, Collins, you must go out very deep, for I want to take a 
header.” 
Canvas in oil. “For London Punch, 1855.” Signed at lower left. 
Height, 15 inches; width, 18 inches. 


27. 


ee 


THE FOLLOWING COLLECTION OF EIGHTEEN 


PICTURES BY FAMOUS LIVING ENGLISH 


ARTISTS WAS BROUGHT '. TOGETHER =Bxe 


MR. HARRINGTON MANN AND EXHIBITED IN 
1915 AT. THE MEMORIAL ART (GARE 


ROCHESTER. THEY ARE NOW SOLD FOR 


THE ACCOUNT OF THE DIFFERENT ARTISTS ~ 
AND. IT. IS NOT LIKELY, THAT AN  OPPGRS 

TUNITY TO PURCHASE SUCH IMPORTANT 
EXAMPLES OF THESE” PAINTERS 9 Wie 
AGAIN OCCUR IN AMERICA. 


28 


eee CAMERON, R-A- 


oe OLD INVERLOCHY 


As a landscape painter and etcher, Mr. D. Y. Cameron holds a 
unique position. His vision probes into the deeper mysteries of 
form and line. No one can suggest so well as he the mystery and 
romance that lurk in an old castle, and the menace of a threatening 

J0G0- sky, dimming the line of the hills. As a landscape painter, he has 
. hardly an equal in England or Scotland. 
G. nvas. Signed. Height, 30 inches; width, 4o inches. 


| 29 


MAURICE GREIFPFENHAGEN 


03. “LHE .BEGGARK “MAID 


A very original rendering of the legend of King Cophetua and 
the Beggar Maid. Mr. Greiffenhagen’s oil paintings are somewhat 
rare. He made his reputation as a black and white artist, and the 
demands upon his brush for illustrating are so insistent that only 

/occasionally can he find time to produce an oil picture. This sump- 


Ma tuous canvas is an excellent example of his skill. 


Canvas. Signed. Height, 53 inches; width, 42% iches. 
80 


‘99. 


100. 


“101. 


102. 


JY- 


| oo 


hae staal 
103. 


PHILIP CONNARD 


JANE CONNARD 


Clean, direct painting by a Sonat who has won the right to 
be styled an artist, not a mere painter. All that Mr. Connard does 
has an air of distinction and brevity. This little, alert, self-pos- 


_ sessed person is his daughter. 


nvuas, peg’ Height, 24 inches; width, Ae, imches. 


M. VEREKER HAMILTON 


Pe AN ISLAND, BRITTANY 
‘A strong painting, suggesting vividly the loneliness and wild 


i | es determination of Brittany. The stretch of blue sea, the blue 


note of the crouching woman, are strengthened by contrast to the 


rough tumble of the foreground boulders. 


Canvas. Signed. eeeh pee inches; width, 2234 inches. 


Peeeoeeiak TRICK, A.R.W.9. 


BILLY THE SWINEHERD 


Beginning as an artist on the “Daily Graphic” and the “Pall 
Mall Budget,” illustrating news events and stories, Mr. Hartrick 


has thus had a varied training in humorous observation which 


stands him in good stead now that he is devoting himself to paint- 


‘ing. <A glance at “Billy the Swineherd” shows that neat, char- 


acteristic and clever drawing are his assets. 


Canvas, Signed. Height, 20% mches; width, 31¥% inches. 


MRS. A. S. HARTRICK 
(LILY BLATHERWICK] 
BUTTERFLY ORCHID 


Not only a pleasing splash of color, but pfs an accurate repre- 


sentation of a rare flower. Mrs. Hartrick has a charming, cloistered 


talent. 
Water color. Signed. Height, 14% inches; width, 9¥% inches. 


HARRINGTON WRN 
IN FANCY DRESS ~~ ef ae 


Mr. Harrington Mann enjoys the act of painting ; enjoys any 
kind of harmony or contrast of color; enjoys painting friends or 
models in costumes of the moment. Vivacious and gracious, this 
is one of his best examples. 


tes year 


te ee er ee 


re Canvas, Signed. Height, 45% imches; width, 33% inches. 
ay ot 


104. REVERIE 


Another example of Mr. Harrington Mann’s joy in painting a 
pretty model. Swiftly he has painted the pose she assumed. In 


0 y~ “Reverie,” she is in a pensive mood. 
wW~Canvas, Signed. Height, 2034 inches; width, 25 inches. 


105. MISCHIEF | = 

A quick change and “Reverie” becomes “Mischief.” It is a 
~ merry picture, and done with an air of gaiety that puts the ob- 
server into a cheerful and even into an affectionate mood. 
Canvas, Signed, Height, 20% inches; width, te inches. 


106. 


MASQUERADE 

A wilder, a more adventurous note is now struck. There is 
meaning in the moon. Pierrot is surely lurking ’round the corner. 
Canvas. Signed. Height, 2114 inches; width, 18 inches. 


FRED MAYOR 


THE SPOR TOUS CASSia 


Mr. Mayor is an adept at this brilliant kind of water color 
painting. A swift impression, the manner of it is familiar to us 
through the works of Winslow Homer, Sargent, and Brabazon. 
Water color. Height, 12% inches; width, 15% tches, 


107. 


[0S THES BLURS BOAT ; 
Another of Mr. Mayor’s vivid impressions, color shorthand, yet 
each essential of the scene is noted. This modern school of water 
color painting, blobby and splashy, is very effective. 


Lo "a Water color. Signed. Height, 12% inches; width, 15% inches. 


PROFESSOR GERALD MOIRA, AR Ws: 
109, THE CRY Sia ve VAS 


Professor Moira is above all a decorator; mere representation 
does not interest him; rhythm and form combine, in his work, to 
fill the canvas, producing a charming effect upon the eye as in this 
decoration. 

ip [x fanvas. Signed. Height, 38% inches; width, 37% inches. 
spe! i 


W. B. EO RANKENGS 


110. IN: THE GARDENS APRN 


Mr. Ranken is one of the alert school of modern painters. He 
is direct and to the point. In this brilliant study of the Trianon 


ee g- Gardens, he gives us the glitter and sparkle of the well-remembered 


Yi JprScene ; he clothes it in a sedate dress, but fresh, frank and green. 
op Canvas. Signed. Height, 21% inches; qwidth, 30 wmches, 


32 


x 


Biv RES SIMS s-RAY 
Mis LANDSCAPE 


Mr. Sims gives no title to this fancy; it does not need one. 
What a pretty fancy it is. Blonde babies sporting in a blonde 
landscape! One remembers a similar picture by Titian in Madrid, 
but there is no rivalry between them. The Titian is an epic; this 


Ww is a lyric. Mr. Sims has imagined his fancy in some English or 
rench plain-land, and has described it in his delightful pictorial 
(‘4 way. | 
anvas. Signed. Height, 23% inches; width, 36 inches. 


Pa 


33 


Be Ga / 


i 

| SIR WILLIAM ORPEN, R.A. 

I 112 SAP TERNOONSR ES. . 

| Besides being one of the ablest of British artists (he is an Irish- 
| man), Sir William Orpen (knighted because he is a tip-top painter ) 
| is also one of the wittiest. Nobody can deny the charm of this 


| | presentment of himself, studying the afternoon’s work, possibly 


i ,» aggrieved that the model does not possess his power of unremitting 
} a ¢ 92°. ++ work. Maybe he is saying to himself, “Lord, I’m a clever fellow, 
| F iad . but the light is going; Pve got to wait until she’s rested, but it’s 
i" i rene all right. Now then, my dear! Time’s up. Hey, and begorrah, 
i \Viewe for another masterpiece.” . : 
i ail WY” B te Canvas. Signed. Height, 38 inches; width, 34 inches. 

| WW\ O- 1 “84 


| 
. 
j 


Sie yy el IAM-ORPEN, R.A. 


PeeeteoR TRAIT OF MISS WILSON 


The witty Irish painter was in a more sedate mood when he 
painted this charming portrait. It is the kind of work that obtains 
Vie ~ commissions for an artist; but Sir William is one of those fortu- : 
nate, or unfortunate, painters whose time is so occupied that he 
dreads the morning post with proposals for more work. 
Ww “Canvas. Signed. Height, 46 inches; width, 36 inches. 


35 


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WILLIAM: STRANG) he 


114... LHE RED ACLOATK 


| | As etcher and forceful figure painter, Mr. Strang has advanced 
his prestige during the past decade. A direct painter, his work 
wears well. It has often been said that he is one of the few painters 
Qyp/ whose works will look as well, if not better, a hundred years hence. 


f+ 


* Canvas. Signed. Height, 50 inches; width, 40 inches. 
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ISTLER PAINTED. 


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at 


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JAMES MeNEILL | piileboen Set 
1834—1903 a 
By C. Lewis HIND 


Whistler has been dead but seventeen years, and already he ranks 


with the Old Masters. In appreciation, and in price, he has risen to a 
height that no other modern artist has attained. The approaching open- 
ing of the Freer Collection of Whistlers at Washington will add, if it 


were possible, to his fame. So rare are his works now, so hard to ob- 
tain, that the sale of two Whistlers at auction is an event: The two sea-- 


scapes here presented are of exquisite quality. They bear the closest 
examination. To look closely at them is a delight. Their subtleties stand 
out. How was it done? No one with any connoisseurship can fail to be 
impressed by the magical character of these renderings of the mystery 
and loveliness of the sea. These two seascapes belong to the famous 
Pourville series, of which Mr. Pennell writes thus in his “Life of 
Whistler” : 

“When he did not care to work from the shore, there were boatmen 


who would take him out beyond the breakers, where he could get the 


effect he wished at the height above the water that suited him. He used 
to be seen calmly painting away in a dancing row-boat, the boatman 
holding it as steadily as he could. There is as much of the bigness of 
the ocean in these little paintings, which show usually only the gray or 
blue or green, but ever recurring swell of the wave, or a quiet sea with 
two or three sails on the horizon, as in any big marines that ever were 
painted. He explained his method to his apprentice, Mrs. Addams. 
When the wave broke and the surf made a beautiful line of white, he 
painted. He explained his method to his apprentice, Mrs. Addams: 


_wave, then the boat passing, and then, having got the movement and 


the beauty that goes almost as soon as it comes, he put in the shore or 
the horizon.” 


ptbg 8 


115. THE SEA, .POURVILLE, I 


Oil Painting on Panel. From the collection of Mr. Arnold 
Hannay of London, whose portrait Whistler painted. Illustrated 
m Pennell’s “Life of Whistler,’ Vol. II, facing page 214. Signed 
at lower, right-hand corner with the Butterfly. Height, 7 mches; 


iL 9° aA ee 10) inches. 


Me SS Mysolth Linduserd Af ark 7/14 


116. THE SEA, POURVILDE a 
Oil Painting on Panel. From the collection of Mr. Arnold 


Sy09 “Hannay of London. Signed at the lower, left-hand corner with 


\pthe Butterfly. Height, 5% inches; width, 0% inches. 


pee 38 


£697 


NUMBER II5 


| 


NUMBER II16 


ae 


FREDERIC REMINGTON, -A.N.A.- 
AMERICAN SCHOOL 
1861—1909 


11/.. REGULAR SPANISH “CAV Aliya. 


Pen, ink and charcoal drawing of a soldier firmly seated on his 
mount, which is one of those spare bronco horses the artist PY 


MG _ trayed so well. 
(, Paper. Signed in full. Height, 25% inches; width, Ee y, aie 


FREDERIC REMINGTON, A.N.A. 
AMERICAN SCHOOL 


1861—1909 
118. REMOUNT 


Pen, ink and charcoal drawing of a Spanish coed up iv. 
the air, thrown from his bronco. 
Paper. Signed and mscribed, “Spamsh cavalryman on a Texas 
bronco ‘Remount’.” Height, 25% mches; width, 1434 inches. 


FREDERIC REMINGTON? Sake 
AMERICAN SCHOOL 
1861—1909 


MO CAVALRY CHARGE 


Episode during the French occupation of Mexico showing cav- 
alry, led by a bare-headed officer on a light gray charger, dashing 
forward, brandishing their swords high overhead, while a French 
soldier lies beside his fallen horse in the left foreground. Stirring 

[ hee action characterizes this work. 
3 Oil on canvas in black and white. Signed at lower right. Height, 
23 inches; width, 33 inches. 


(plu FREDERIC REMINGTON, A.N.A. 


AMERICAN SCHOOL 
1861—1909 


120, THE eMOOsSr BUNT 


A couple of hunters have tracked a moose in the interior of a 
dense forest heavy with snow. The animal, a big male, is coming 
toward the nimrods at a rapid gait, and the principal hunter on 

F the left is leveling his gun from behind a tree while his guide rushes 
ob “ to the side for safety. 
Uy Gouache, academy board. Signed at lower left. Height, 23 inches; 
Tie width, 21 inches. 


40 


121. 


2 aphock 


4 Leo ; 


FREDERIC REMINGTON, A.N.A. 
AMERICAN SCHOOL 
-1861—1909 


PREPARING TO FACE THE FIRING SQUAD 


In a picturesque Mexican courtyard a detachment of soldiers 
el white uniforms act as guards for a large number of American 
isoners, mostly bareheaded and in shirt sleeves, having the ap- 
pearance of miners, while at a table to the left a prisoner is ostensi- 
bly drawing a number from a jug which is to decide his fate. Off- 
cers in brown buckskin uniform preside over this operation, while 
others bring up the extreme left foreground. 
Canvas oil. Signed at lower right. Height, 27 inches; width, 40 
inches. 


41 


JOHN. SINGLETON COPIES 
AMERICAN SCHOOL 
WAVES 


1214. BRITISH ARMY MANOEUVERS 


In the foreground the General, in plumed hat, mounted on a 
prancing steed, addresses a group of officers on the right. Soldiers 
in formation in the distance with a row of tents farther back and 
a fort at the left, from which smoke clouds of cannon shot are 
issuing. In the immediate foreground at the left an oak tree with 
gnarled trunk, beside which a mounted officer is seen. Admirable 
perspective. 

Pen and ink drawing. Signed at lower right and dated, J. S. Copley 
Del., 1751. Height, 35% inches; length, 7 inches. 7 
This drawing passed from the Copley family to Mrs. Amory, then 
to Dr. Charles Martin, whose daughter, Mrs. Beardsley, subse- 
quently bequeathed it to the present owner, Miss Elizabeth Strat- 
ford. It ts probably the earliest known drawing by Copley. 


42 


UNKNOWN 


PORTRAIT OF LORD TENNYSON 


This interesting and beautiful portrait was one of the prize posses- 
sions of the late W. M. Chase, N.A. The face is seen in profile to the 
right, with figure slightly inclined forward. The canvas is not signed, 
but it is very likely that it was painted by Sir William B. Richmond, 
R.A., and presented by him to Mr. Chase. This is the opinion of a 
eading English art director. Many of the English painters presented 

fvases to Chase. Tennyson was also painted many times by G. F. 
atts, R.A. Whoever painted this canvas, it is a superb portrait of 
Tennyson. Perhaps it was painted by Chase himself? 
Canvas. Height, 24 inches; width, 20 inches. 


43 


JOHN SINGER SARGENT, R.A. 
By C, Lewis H1inp 


John Singer Sargent, Royal Academy, D,C.L. Oxford, LLD. Cami 
bridge, with other honors too numerous to mention, is the most dis- 
tinguished of living artists. As portrait painter, subject painter, land- 
scape painter, water color painter, he is unrivaled. A few years ago, 
tired of being tied to his easel, tired at being at the beck and call of 
sitters, tired, maybe, of success, he announced that he would paint no 
more portraits except under very special circumstances. He determined 
to be free, to roam where he would, to paint what he liked, In this 
period of holiday time, the only real time for a painter, he has produced 
landscapes in oil and water color of extraordinary interest and beauty. 
His water colors have been received with especial delight. Nothing like 
them has been done before; no other artist, not even Winslow Homer, 
has been able to render so vividly and spontaneously effects of light and 
movement. It is impossible to analyze the method of his water color 
painting, to say how they are done, how light transparency and the 
arrested movement, arrested, yet going on, are flashed upon canvas, ‘The 
great museums of the world have eagerly sought Sargent’s water colors. 
England, Scotland, New York, Boston, Brooklyn, all have their groups. 
The reason why so few private persons possess Sargent water colors is 
because the artist prefers to sell them in groups to museums, not sepa- 
rately. The few that come into the market are usually presentation 
copies from the artist to friends. Such are the three remarkable exam- 
ples of his Venetian scenes now presented. 


te 
121..”" THE... BRIDGE, . VENICE 


Water Color. Signed and inscribed in lower, left- hand corner, 
“To Helen Henschel and Wolfan Onslow Ford: John S. Sargent.” » 
Height, 12 inches; width, 1S inches. 


7 
. [See Illustration ] 
Af 


122:. THE. BYEWAY, ‘VENICE 
/ Water Color. Inscribed in upper, left-hand corner, “To Miss 


at) Wertheimer: John S. Sargent.’ Height, 18 nches ; width, 12 inches. 
fhe : ; [See Illustration] 


44 


MBER 122] 
45 


[NUMBER I21] 
NU 


Whe 
aa 


mer, with 


t 


ENT, R. A. 
back, “To Mrs. Werthe 


1 


ibed o1 


JOHN SINGER SARG 
Inscr 


THE PALACE STEPS, VENICE 


Water Color 


125. 


width, 18 


3 


hes 


Height, 12 mc 


ent.’’ 


Sarg 


SI 


1 


s of Joh 


mpliment 


O 


46 


A COLLECTION OF THIRTY-THREE OIL SKETCHES 
ON CANVAS, AND THREE STUDIES IN RED 


me. WHITE CHALK AND’ CHARCOAL, BY 
AUGUSTE RENOIR. 


AUGUSTE RENOIR 
| 1841—1919 
By C. Lewis HINp 


Last July, Mr. Clive Bell, the first of English art critics, began an arti- 
cle on Renoir thus: “Renoir is the greatest painter alive.” This supreme 
artist died in the early days of last December, crippled with rheumatism, 
but painting magnificently to the end. A few days after his decease, The 
London Athenaeum, in a first editorial, said: “Auguste Renoir was at 
the time of his death the greatest of all living painters.” 

French and American critics support these testimonies. So universal 
is the admiration of Renoir that his paintings have reached an almost 
fabulous price. And they are rising. In 1907, the Metropolitan Museum 
of New York paid 92,900 francs (at that time nearly $20,000) for his 
“Mme. Charpentier and Her Children.” His “Moulin de la Galette” is 
one of the glories of the Luxembourg Gallery, and when in 1917 his “Les 
Parapluies” was presented by Sir Hugh Lane to the National Gallery, 
London, it made such a sensation and was so much appreciated that a 
hundred artists and connoisseurs sent to Renoir a testimony of their 
admiration, to which the artist replied in affecting language. 

So the sale by auction of thirty-six pictures by Renoir, each signed, 
may be justly termed an event in salesroom annals. Three of them, in 
red and white chalk and charcoal, are large in size and important as 
they are beautiful; thirty-three are the intimate thoughts and summary 
expressions of this master. They are the first quick studies, done in 
moments of inspiration and exaltation, from which he painted his pic- 
tures. They were purchased nine years ago in Paris by a New York 
collector, who obtained them from a lady, an intimate friend of the 
artist’s. Renoir gave them to her. 


47 


fr- 124. THE VILLAGE CHURCH 


/ ng Oil sketch, canvas on cardboard, signed at the lower left. 
Bale Height, 5% inches; width, 10 inches. | 
NM 125. THE PEONY 


Oil sketch, canvas on cardboard, signed on the lower left. 


| ipa Height, 9 inches ; width, 51% inches. 
| ae 126. WOMAN WITH RAISED RIGHT ARM 
/2 vex Oil sketch on paper, signed on the lower left. 
as ; Height, 434 inches; width, 334 mches. 
t/ ee 127. WOMAN WITH RAISED LEFT ARM 
i dZ. ie . Oil sketch, on paper, signed on the left side, in the middle. 
ee Height, 4% inches; width, 334 mches. 


128. THE SHOULDERS, SKETCH OF A NUDE WOMAN 


1) MN 
| } _ Ojijl on canvas. Signed on the right side in the center. 
i Height, 4% inches; width, 4% inches. 


Pee YOUNG WOMAN, HEAD AND SHOULDERS VIVIDLY 
(W : SKETCHED 


| | | y OU a Oil on paper. Signed on the lower right. 3 
I Height, 514 inches; width, 334 inches. 


130. WOMAN BATHING, FULL LENGTE 
Oil sketch on canvas. pleted in the lower center. 


es 
Jbl pe Height, 8% inches; width, 4% iches. 


i pre” 131. YOUNG GIRL IN BLACK DRGs 


Oil sketch on paper, signed on the lower right. . 
. dw Height, 7% inches; width, 5% inches. 
peat 132. WOMAN GLANCING OVER HER SHOULDER — 


| ae Oil sketch on canvas, signed on the left side, in the center. 
om _- Height, 9% inches; width, 5% mehes. 


(tar 83, NUDE WOMAN 


be * Oil on canvas, signed on the right side, in the center. 


I Mae Height, 5 inches; width, 4 inches. 


(6-134. NUDE WOMAN RECLINING 
Oil sketch on canvas, signed on the lower right. 
Vind, <9 Height, 3 inches; width, 634 inches. 
ho “ 135. SEACOAST ON THE MEDITERRANEAN 
Oil sketch on canvas, signed on the lower left. 
ee Height, 434 inches; width, 7 wmches, 
oN a AW [See Illustration] 


pw 
‘eg 136. NUDE WOMAN REACHING OUT 
nr ea, Oil sketch on canvas, signed on the lower right. 
[V~  — _ *Height, 734 inches; width, 334 inches. 

> Lp Y bss 


Se 


etoes Ke 


[NUMBER 135 ]| 


[NUMBER 139] - 


Ov 
St I 


137. NUDE WOMAN HIDING HER HEAD IN HER ARMS 
OF Oil sketch on canvas, signed on the lower right. 
| Height, 73% inches; width, 5% inches. 
138. NUDE WOMAN, PROFILE 
Oil sketch on canvas, signed on the right side, in the middle. 
4% Height, 934 inches; width, 6% inches, 
or ib. SKETCH FOR COMPOSITION: OF BATH WOMEN 
This sketch seems to have been made for one of the compo- 
sitions of Bathing Women. Nearly the same figure is found in the 
Veta gaa notably in the collection of J. E. Blanche, Paris, in 
the collection of the Prince de Wagram, and in the Vollard collec- 
tion, Paris. 
Oil on canvas, signed on the lower right. 
Height, 5% inches; width, 11 inches. 
[See Illustration ] 


140. NUDE WOMAN STANDING 


Oil sketch on paper, signed on the lower left. 
Height, ro inches; width, 45% mches. 


141. YOUNG WOMAN IN A BLACK 
seca Oil sketch on paper, signed on the lower right. 
oe f Height, 47% inches; width, 33% inches. 

142. YOUNG WOMAN | 

Oil sketch on paper, signed on the lower left. 


a“ Height, 634 mches; width, 3% imches. 
143. YOUNG WOMAN STRETCHING 
vn bie | Oil sketch on paper, signed on the left, in the center. 


Height, 5% inches; width, 4% inches. 
144. YOUNG WOMAN CLASPING HER HANDS OVER HER 
KNEES , 
ve 3 Oil sketch on paper, signed on the upper right. 
Height, 6% inches; width, 438 mches. 

145. WOMAN BENDING TO-DRY HER FOOT 
boo Oil sketch on paper, signed on the lower right. 
wr Fra Height, 84% inches; width, 47% mches, 

Pre: wg 146. “FEMALE «PORTRAIT SKETCH 

7 Oil on paper, signed in the center. 
a fo Height, 6 inches; width, 4% inches. 
| 147, NUDE WOMAN SEATED 


Oil sketch on canvas, signed on the upper left. 
20 pf pe Height, 4 inches; width, 534 inches. 


> yl A [See Illustration] 
_ @ ~~ 148. NUDE WOMAN, DRAMATIC GESTURE 
| o: 4 il sketch on canvas, sea on the lower right. 


he eight, 9 inches; width, 414 inches. 
f. “4 ON 50 


aes 


Ske 


pea SAE 


e 


[NUMBER 147] 


/ 9° 


G57. 


md § 
Luce depict the same young woman who posed for the painter’s masterly 


i (wt Oy 


‘ 


fe 


. NUDE, WOMAN IN” PLASC. POSE 


Oil sketch on paper, signed on the lower left. 
Height, 9% inches; width, 434 wches. 


. WOMAN BATHING 


Oil sketch on paper, signed on the lower left. 
Height, 934 wches; width, 6 inches. 


PORTRAIT OKT Cr wei oe 


Oil on paper, signed on the lower left. 
Height, 534 inches; width, 53% inches. 


. YOUNG WOMAN SEATED RESTING HER ARMS ON 


HER KNEES 
Oil sketch on canvas, signed on the upper right. 
Height, 10 inches; width 55% inches. 


. NUDE WOMAN. LYING ON As CAREEy 


Oil sketch on canvas, signed on the left, in the center. 
Height, 57% inches; width, 1034 inches, 
[See Illustration] 


. YOUNG WOMAN LEANING FORWARD 


Oil sketch on paper, signed on the upper left. 


, Height, 7 inches; width, 5% inches. 
- NUDE WOMAN -SEATED ON=ASB eM 


Oil sketch on canvas, signed on the lower right. 


_ Height, 1034 inches; width, 9% inches. 
. NUDE WOMAN RECLINING ON HER ELBOW 


Oil sketch on canvas, signed on the lower left. - 


. Height, 6 inches; width, 107% inches. 


NUDE WOMAN RECLINING 
This charming study in charcoal, red and white chalk seems to 


“Baigneuse” (Durand Ruel, private collection, see Meier Graefe’s 
“Renoir,” page 108). The directness and vividness of this sketch 
is comparable to the best work of the eighteenth century. It is a 
little masterpiece which would arouse the admiration of Boucher 
or Fragonard. | 
Signed on the lower right. Height, 16 inches; width, 24% inches. 
Gold frame. 


[See Illustration] 


158. NUDE WOMAN SEATED ON, THE GROUN® 


Study in red and white chalk and charcoal. Probably for one 
of Renoir’s compositions of Bathing Women. The piquant expres- 


Nsiveness of the face is as beautiful as the sculptural treatment of 


30 Wis 


the figure. 
Signed on the upper right. Height, 20% inches; width, 16% 
inches. Gold frame. 


32 


as 


se92 Tig Tp 


159. YOUNG WOMAN COMBING HER HAIR 


Study in red and white chalk and charcoal, In spite of the 

girl’s absorption in the pleasure of combing her hair, there is notice- 

és ‘ , able in her face an underlying sadness and melancholy. A haunt- 
? 


~ 


ing study! A rare Renoir! 
| paroigned on the upper left. Height, 24% inches; width, 18% inches. 
< 


v 54 


if WY 
Va ual 


= _ GEORGES MICHEL 
e - | FRENCH SCHOOL 
1763—1843 


Toe ND SCAPI WITH,» FARMHOUSE 

A broad vista stretching away illimitably, dominated by a tem- 
pestuous sky. At the right, beside a roadway leading to the edge 
of the bluff, stands a group of farm buildings surrounded by trees. 
In the foreground are seen two men hewing logs, and where the 
road forks is a peasant woman laden with fagots. Far away, on 
the left, the landscape undulates to the horizon and, over all, the 
drifting clouds gather in a tumultuous mass, from which a passing 
shower of rain descends. A-warm glow permeates the entire pic- 
ture; the breadth and simplicity being equaled by the exquisite 
sense of harmony and tone. 

Rivaling the greatest colorists in his disposition of light and 
shadow, Georges Michel’s pictures convey a poetic sense by their 
audacious harmonies and extraordinary amplitude, their profound 
depth and feeling for aerial perspective and contrasting effects, 
direct and rapid. These are not the efforts of an artist enfeebled 
by petty ideals; his processes are the simplest; his palette the 
most elementary. Painting on sheets of paper stretched on linen, 
his treatment was vigorous and swift. With a horizon decisively 
delineated and two summary values for the sky and the earth, he 
produces results astounding in their effectiveness; his creations 
flowing easily from his brush with an execution often monochro- 
matic, but conveying a distinct sentiment of values and harmonies. 
( Owner, V. Winthrop Newman.) 

Paper stretched on linen. Height, 29% inches; width, 41% inches. 
Bought from B. Epstein, Paris. 


>. 


AUGUSTE RODIN. ~ 
FRENCH SCHOOL 
1840—1919 


POs DESPAIR: 


A wonderful expression of despair. The artist represents a 
man of powerful muscularity lying in a posture of hopeless suffer- 
ing, the head bowed, one arm drawn up and the hand clutching the 
back of the ‘head. The other hand is clenched at the side. The 

fe L 4 legs are drawn up, one over the other, as if the suffering were too 
i fp / intense to be borne. The contrast of the powerful muscles of the 
J arms, back and legs, which stand out even in the crushed and 
hopeless attitude of the body, is a striking one. This work belongs 

P pie the very best period of Rodin. It must have been made in the 

4) i 444 ate 80’s or in 1890, the date of the “Danaide” in the Luxembourg 


fw’ ' (,4Museum to which it shows a close resemblance in style. 
V 


“White marble. Signed on the base to the left. Height, 134 inches; 
length, 25 inches. 


56 


St ne ng ans 


| 7 | > 

AUGUSTE RODIN Do 

| FRENCH SCHOOL UA A 
1840—1919 


162. EVE 

Eve is represented standing, hiding her head in her left arm. 
Her gesture, beautifully expressed by the artist, shows at the same 
! time the fear of punishment for her sin and the first feeling of 
maternity in her shivering body. Eve was a favorite subject of 
/ - _— Rodin. In 1881 he executed the model for the famous bronze 
2 Vo0° statue (which was not cast in bronze until 1889) for E. Pellerin, 
of which another copy is in the Metropolitan Museum of Art. A 
large Eve in marble is also at the Metropolitan Museum. In 1889 
lv , f ee made a small marble of the same subject, which belonged to 
i @ Vacquerie collection in Paris. Another Eve was Number 186 
Ox in the sale of the collection of Henri Vever, in Paris. The present 

statue appears to have been made between 1900 and 1915. 
White marble. Signed on the base to the right. Height, 2034 inches. 


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